Fernando Mierelles and Kátia Lund’s portrayal of the violent life of the Brazilian slum of Cidade de Deus plays something like a South American version of The Godfather, only without the suits. Most of actors in the film are in fact Brazilian street kids themselves who were given crash-courses in acting. For the most part, this pays off; aside from a few awkward moments, most often in the few romantic scenes, the characters come to life, if only just in time to come to death. It is natural to assume that their own real experiences inform how they play characters whose experiences took place in the same world, only in the ’60s and ’70s, when the City of God was born.

The film’s touchstone is Rocket, an earnest yet frightened youngster navigating the minefield of the City of God, who functions not only as the film’s narrator but also as its conscience. Without him as a lifeline, the movie would simply drown in a tidal wave of despair and violence. Even with him, the overarching tone of the film is one of inevitability. It’s pretty easy to see early on how things are likely to play out for each of the main characters. Li’l Dice/L’il Ze is a frightening, Capone-like figure, who learns early on that if the threat of violence brings some power, actual violence brings more power. His childhood friend Bene plays yin to L’il Ze’s yang; he is more interested in the benefits of power than the power itself. And Knockout Ned is a noble figure rendered tragic by forces that pull him down. Still, in spite of their prefigured destinies, the characters and their surroundings remain vibrant, occasionally even playful.

The lively direction and intriguing characters make up for a dearth of real originality in the script. New insight is limited, but the lives remain compelling.